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Puerto Rican art

Puerto Rico is a territory of the United States. Puerto Ricans (Spanish: puertorriqueños or boricuas) are the people of Puerto Rico, the inhabitants, and citizens of the Commonwealth of Puerto Rico, and their descendants. Puerto Rico is home to people of many different national origins as well. The people of Puerto Rico are a mix of European, Taino, and African ancestry. The island's unique mixture is represented in the varied styles of Puerto Rican art.

Santos

 
San Juan Nepomuceno Santo statuette by Felipe de la Espada, born in San Germán, Puerto Rico ca. 1754

When the Spanish first arrived in Puerto Rico, one of their primary tools in converting the indigenous Taíno population were statuettes, known as Santos, depicting the Virgin Mary, Jesus Christ, and other Catholic icons (the practice of religious sculpture already existed on the island through the Taínos’ use of cemí figures).[1]  As there were not many churches and missionaries during the early years of Spanish occupation, Santos were crucial in establishing the Catholic faith in Puerto Rico, as the converts would use the Santos in domestic settings for various religious purposes.[2] Early craftsmen of these Santos, known as santeros (or santeras, if female) would primarily create the figures by using Spanish cedarwood, clay, or stone,[3] and applying oil paints, and were heavily influenced by the Spanish Baroque style, with the early Santo figures being elaborately detailed with dramatic expressions.

 
San Jose y el Niño, ca. 1845 Santo statuette by Tiburcio de la Espada, born in San Germán, Puerto Rico

Many Santos were adorned with aureolas (halos), though depictions of Jesus exclusively used a three-pointed halo referred to as the Tres Potencias. In the years after Spanish Colonialism, Santos moved away from the Baroque style and into roughly 2 categories: Autoctono and Contemporary. Autoctono (Native) is characterized by local Puerto Rican colors and simple, childlike features, while Contemporary is a broader category reflective of Santos that are made without necessarily having a direct mystical or religious influence. Santos vary in size, but are usually around eight to twenty inches tall.  Over the years, Santos have become a very personal and important tradition in many Puerto Rican households: they are housed in special wooden boxes called nichos where people pray for assistance and protection,[4] and families often pass down collections of Santos (for instance, depictions of the Nativity Scene) for future generations to add new figures and restore old ones.  After the 1898 United States invasion of Puerto Rico, Santos as a handmade craft somewhat reduced in popularity, as Protestant missionaries called for converts to dispose of and destroy the figures, and general modernizations on the island led to a reduced interest in this long-standing tradition.[5] As a result, plastic, mass-produced statuettes of Catholic figures have become more popular as an alternative to traditional Santos craftsmanship.

In October 2021 the twentieth meeting of Santo carvers was held at the Institute of Puerto Rican Culture in Old San Juan, Puerto Rico.[6]

Caretas

Caretas (masks), which are worn during carnivals, are also popular. Similar masks signifying evil spirits were used in both Spain and Africa, though for different purposes. The Spanish used their masks to frighten lapsed Christians into returning to the church, while tribal Africans used them as protection from the evil spirits they represented. Puerto Rican caretas always bear at least several horns and fangs, true to their historical origins. While they are usually constructed of papier-mâché, coconut shells and fine metal screening are sometimes used as well. Though red and black were originally the typical colors for caretas, their palette has expanded to include a wide variety of bright hues and patterns.[7]

Visual arts

Perhaps the strongest Spanish influence on Puerto Rican arts was in painting. During the colonial period, native-born painters emulated classic European styles. The first of these artists to gain international acclaim, José Campeche, learned techniques from both his father, who was a former slave who had purchased his freedom by carving altarpieces,[8] and from exiled Spanish artist Luis Paret. His work concentrated on religious themes and portraits of important citizens in Spanish Rococo style. Still regarded as one of the most important 18th-century painter in the Americas, Campeche is also credited with creating the Puerto Rican national painting.

 
Hacienda La Fortuna by Francisco Oller (1885). Brooklyn Museum.

In the 19th century, Francisco Oller followed in Campeche's footsteps. Unlike Campeche, who never left Puerto Rico, Oller studied in both Madrid and Paris, which greatly influenced his work. Although his paintings often show an Impressionist or Realist style, he altered his style with each piece to suit the subject matter. Landscapes, portraits, and still lifes were all among his works. After moving back to Puerto Rico in 1884, Oller became interested in portraying Puerto Rican subject matter. He also founded an art academy and wrote a book on drawing and painting the natural world.

By the end of the 20th century, painting no longer defined Puerto Rican art as it once had. "A group of contemporary artists who came into maturity in the 1990s broke away from nationalistic agendas so crucial to previous generations of artists from Puerto Rico," according to curator Silvia Karman Cubiña. "Instead, their works are informed by more personal issues, as well as broader topics such as gender, consumerism, world history, film, and literature."[9] The importance of artists such as Allora & Calzadilla, Daniel Lind-Ramos, Rosado Seijo, and Arnaldo Morales was "their social dimension and the potential for interaction with others."[10] For others such as Manuel Acevedo, Javier Cambre, Nayda Collazo-Llorens, and Carlos Rivera Villafañe, it was their multi-media and site-specific installations that expanded on the "nontraditional modes begun in earlier generations, by artists such as Rafael Ferrer and Rafael Montañez Ortiz, and then Antonio Martorell, José Morales, Pepón Osorio,"[11] and Beatriz Santiago Muñoz.

See also

References

  1. ^ "A Guide to Puerto Rico's Carved Saints - Ponce and the Porta Caribe". Fodor's. Retrieved 2019-05-14.
  2. ^ "Discussion". www.si.edu. Retrieved 2019-05-14.
  3. ^ "Puerto Rico's Culture: Arts and Crafts". welcome.topuertorico.org. Retrieved 2019-05-14.
  4. ^ "The Beautiful Santos Souvenirs of Puerto Rico". TripSavvy. Retrieved 2019-05-14.
  5. ^ "On Puerto Rico's Santos Trail: 11,000 Virgins, the Powerful Hand, and Anima Sola". Best Cultural Destinations. Retrieved 2019-05-14.
  6. ^ "El Encuentro de Talladoras se realizará este domingo en Mercado Ballajá". El Nuevo Día (in Spanish). October 19, 2021. Retrieved November 13, 2021.
  7. ^ "Puerto Rican Literature, Art & Culture". La Salita Cafe. Retrieved 12 October 2014.
  8. ^ "José Campeche y Jordán | Smithsonian American Art Museum". americanart.si.educaaxcauage=en-US. Retrieved 2020-03-24.
  9. ^ Silvia Karman Cubiña, “Notes on Neoconceptualism from Puerto Rico” in None of the Above: Contemporary Work by Puerto Rican Artists (Hartford, CT: Real Art Ways, 2004), 22.
  10. ^ Silvia Karman Cubiña, “Notes on Neoconceptualism from Puerto Rico” in None of the Above: Contemporary Work by Puerto Rican Artists (Hartford, CT: Real Art Ways, 2004), 23.
  11. ^ Deborah Cullen, “Here and There: Six Artists from San Juan” in Here & There / Aquí y allá (New York: El Museo del Barrio, 2001), 12.

Further reading

  • The art heritage of Puerto Rico, pre-Columbian to present. New York: The Metropolitan Museum of Art and El Museo del Barrio. 1973.

External links

  •   Media related to Art of Puerto Rico at Wikimedia Commons

puerto, rican, lead, section, this, article, need, rewritten, lead, layout, guide, ensure, section, follows, wikipedia, norms, inclusive, essential, details, june, 2021, learn, when, remove, this, template, message, puerto, rico, territory, united, states, pue. The lead section of this article may need to be rewritten Use the lead layout guide to ensure the section follows Wikipedia s norms and is inclusive of all essential details June 2021 Learn how and when to remove this template message Puerto Rico is a territory of the United States Puerto Ricans Spanish puertorriquenos or boricuas are the people of Puerto Rico the inhabitants and citizens of the Commonwealth of Puerto Rico and their descendants Puerto Rico is home to people of many different national origins as well The people of Puerto Rico are a mix of European Taino and African ancestry The island s unique mixture is represented in the varied styles of Puerto Rican art Contents 1 Santos 2 Caretas 3 Visual arts 4 See also 5 References 6 Further reading 7 External linksSantos Edit San Juan Nepomuceno Santo statuette by Felipe de la Espada born in San German Puerto Rico ca 1754 When the Spanish first arrived in Puerto Rico one of their primary tools in converting the indigenous Taino population were statuettes known as Santos depicting the Virgin Mary Jesus Christ and other Catholic icons the practice of religious sculpture already existed on the island through the Tainos use of cemi figures 1 As there were not many churches and missionaries during the early years of Spanish occupation Santos were crucial in establishing the Catholic faith in Puerto Rico as the converts would use the Santos in domestic settings for various religious purposes 2 Early craftsmen of these Santos known as santeros or santeras if female would primarily create the figures by using Spanish cedarwood clay or stone 3 and applying oil paints and were heavily influenced by the Spanish Baroque style with the early Santo figures being elaborately detailed with dramatic expressions San Jose y el Nino ca 1845 Santo statuette by Tiburcio de la Espada born in San German Puerto Rico Many Santos were adorned with aureolas halos though depictions of Jesus exclusively used a three pointed halo referred to as the Tres Potencias In the years after Spanish Colonialism Santos moved away from the Baroque style and into roughly 2 categories Autoctono and Contemporary Autoctono Native is characterized by local Puerto Rican colors and simple childlike features while Contemporary is a broader category reflective of Santos that are made without necessarily having a direct mystical or religious influence Santos vary in size but are usually around eight to twenty inches tall Over the years Santos have become a very personal and important tradition in many Puerto Rican households they are housed in special wooden boxes called nichos where people pray for assistance and protection 4 and families often pass down collections of Santos for instance depictions of the Nativity Scene for future generations to add new figures and restore old ones After the 1898 United States invasion of Puerto Rico Santos as a handmade craft somewhat reduced in popularity as Protestant missionaries called for converts to dispose of and destroy the figures and general modernizations on the island led to a reduced interest in this long standing tradition 5 As a result plastic mass produced statuettes of Catholic figures have become more popular as an alternative to traditional Santos craftsmanship In October 2021 the twentieth meeting of Santo carvers was held at the Institute of Puerto Rican Culture in Old San Juan Puerto Rico 6 Caretas EditCaretas masks which are worn during carnivals are also popular Similar masks signifying evil spirits were used in both Spain and Africa though for different purposes The Spanish used their masks to frighten lapsed Christians into returning to the church while tribal Africans used them as protection from the evil spirits they represented Puerto Rican caretas always bear at least several horns and fangs true to their historical origins While they are usually constructed of papier mache coconut shells and fine metal screening are sometimes used as well Though red and black were originally the typical colors for caretas their palette has expanded to include a wide variety of bright hues and patterns 7 Visual arts EditPerhaps the strongest Spanish influence on Puerto Rican arts was in painting During the colonial period native born painters emulated classic European styles The first of these artists to gain international acclaim Jose Campeche learned techniques from both his father who was a former slave who had purchased his freedom by carving altarpieces 8 and from exiled Spanish artist Luis Paret His work concentrated on religious themes and portraits of important citizens in Spanish Rococo style Still regarded as one of the most important 18th century painter in the Americas Campeche is also credited with creating the Puerto Rican national painting Hacienda La Fortuna by Francisco Oller 1885 Brooklyn Museum In the 19th century Francisco Oller followed in Campeche s footsteps Unlike Campeche who never left Puerto Rico Oller studied in both Madrid and Paris which greatly influenced his work Although his paintings often show an Impressionist or Realist style he altered his style with each piece to suit the subject matter Landscapes portraits and still lifes were all among his works After moving back to Puerto Rico in 1884 Oller became interested in portraying Puerto Rican subject matter He also founded an art academy and wrote a book on drawing and painting the natural world By the end of the 20th century painting no longer defined Puerto Rican art as it once had A group of contemporary artists who came into maturity in the 1990s broke away from nationalistic agendas so crucial to previous generations of artists from Puerto Rico according to curator Silvia Karman Cubina Instead their works are informed by more personal issues as well as broader topics such as gender consumerism world history film and literature 9 The importance of artists such as Allora amp Calzadilla Daniel Lind Ramos Rosado Seijo and Arnaldo Morales was their social dimension and the potential for interaction with others 10 For others such as Manuel Acevedo Javier Cambre Nayda Collazo Llorens and Carlos Rivera Villafane it was their multi media and site specific installations that expanded on the nontraditional modes begun in earlier generations by artists such as Rafael Ferrer and Rafael Montanez Ortiz and then Antonio Martorell Jose Morales Pepon Osorio 11 and Beatriz Santiago Munoz See also Edit Puerto Rico portalCultural diversity in Puerto Rico List of Puerto Ricans History of Puerto Rico Miguel PouReferences Edit A Guide to Puerto Rico s Carved Saints Ponce and the Porta Caribe Fodor s Retrieved 2019 05 14 Discussion www si edu Retrieved 2019 05 14 Puerto Rico s Culture Arts and Crafts welcome topuertorico org Retrieved 2019 05 14 The Beautiful Santos Souvenirs of Puerto Rico TripSavvy Retrieved 2019 05 14 On Puerto Rico s Santos Trail 11 000 Virgins the Powerful Hand and Anima Sola Best Cultural Destinations Retrieved 2019 05 14 El Encuentro de Talladoras se realizara este domingo en Mercado Ballaja El Nuevo Dia in Spanish October 19 2021 Retrieved November 13 2021 Puerto Rican Literature Art amp Culture La Salita Cafe Retrieved 12 October 2014 Jose Campeche y Jordan Smithsonian American Art Museum americanart si educaaxcauage en US Retrieved 2020 03 24 Silvia Karman Cubina Notes on Neoconceptualism from Puerto Rico in None of the Above Contemporary Work by Puerto Rican Artists Hartford CT Real Art Ways 2004 22 Silvia Karman Cubina Notes on Neoconceptualism from Puerto Rico in None of the Above Contemporary Work by Puerto Rican Artists Hartford CT Real Art Ways 2004 23 Deborah Cullen Here and There Six Artists from San Juan in Here amp There Aqui y alla New York El Museo del Barrio 2001 12 Further reading EditThe art heritage of Puerto Rico pre Columbian to present New York The Metropolitan Museum of Art and El Museo del Barrio 1973 External links Edit Media related to Art of Puerto Rico at Wikimedia Commons Retrieved from https en wikipedia org w index php title Puerto Rican art amp oldid 1125038698, wikipedia, wiki, book, books, library,

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